Publications

Abstract

Is there a universal hierarchy of the senses, such that some senses (e.g., vision) are more accessible to consciousness and linguistic description than others (e.g., smell)? The long-standing presumption in Western thought has been that vision and audition are more objective than the other senses, serving as the basis of knowledge and understanding, whereas touch, taste, and smell are crude and of little value. This predicts that humans ought to be better at communicating about sight and hearing than the other senses, and decades of work based on English and related languages certainly suggests this is true. However, how well does this reflect the diversity of languages and communities worldwide? To test whether there is a universal hierarchy of the senses, stimuli from the five basic senses were used to elicit descriptions in 20 diverse languages, including 3 unrelated sign languages. We found that languages differ fundamentally in which sensory domains they linguistically code systematically, and how they do so. The tendency for better coding in some domains can be explained in part by cultural preoccupations. Although languages seem free to elaborate specific sensory domains, some general tendencies emerge: for example, with some exceptions, smell is poorly coded. The surprise is that, despite the gradual phylogenetic accumulation of the senses, and the imbalances in the neural tissue dedicated to them, no single hierarchy of the senses imposes itself upon language.

Abstract

How are events framed in narrative? Speakers of English (a 'satellite-framed' language), when 'reading' Mercer Mayer's wordless picture book 'Frog, Where Are You?', find the story self-evident: a boy has a dog and a pet frog; the frog escapes and runs away; the boy and dog look for it across hill and dale, through woods and over a cliff, until they find it and return home with a baby frog child of the original pet frog. In Tzeltal, as spoken in a Mayan community in southern Mexico, the story is somewhat different, because the language structures event descriptions differently. Tzeltal is in part a 'verb-framed' language with a set of Path-encoding motion verbs, so that the bare bones of the Frog story can consist of verbs translating as 'go'/'pass by'/'ascend'/ 'descend'/ 'arrive'/'return'. But Tzeltal also has satellite-framing adverbials, grammaticized from the same set of motion verbs, which encode the direction of motion or the orientation of static arrays. Furthermore, vivid pictorial detail is provided by positional verbs which can describe the position of the Figure as an outcome of a motion event; motion and stasis are thereby combined in a single event description. (For example:  jipot jawal "he has been thrown (by the deer) lying­_face_upwards_spread-eagled". This paper compares the use of these three linguistic resources in Frog Story narratives from  Tzeltal adults and children, looks at their development in the narratives of children, and considers the results in relation to those from Berman and Slobin's (1996) comparative study of adult and child Frog stories.

Abstract

From the perspective of a Kantian belief in the fundamental human tendency to cleave space along the three planes of the human body, Tenejapan Tzeltal exhibits a linguistic gap: there are no linguistic expressions that designate regions (as in English to my left) or describe the visual field (as in to the left of the tree) on the basis of a plane bisecting the body into a left and right side. Tenejapans have expressions for left and right hands (xin k'ab and wa'el k'ab), but these are basically body-part terms, they are not generalized to form a division of space. This paper describes the results of various elicited producton tasks in which concepts of left and right would provide a simple solution, showing that Tenejapan consultants use other notions even when the relevant linguistic distinctions could be made in Tzeltal (e.g. describing the position of one's limbs, or describing rotation of one's body). Instead of using the left-hand/right-hand distinction to construct a division of space, Tenejapans utilize a number of other systems: (i) an absolute, 'cardinal direction' system, supplemented by reference to other geographic or landmark directions, (ii) a generative segmentation of objects and places into analogic body-parts or other kinds of parts, and (iii) a rich system of positional adjectives to describe the exact disposition of things. These systems work conjointly to specify locations with precision and elegance. The overall system is not primarily egocentric, and it makes no essential reference to planes through the human body.

Abstract

These classic tasks can be used to explore spatial reference in field settings. They provide a language-independent metric for eliciting spatial language, using a “director-matcher” paradigm. The Man and Tree task deals with location on the horizontal plane with both featured (man) and non-featured (e.g., tree) objects. The Space Games depict various objects (e.g. bananas, lemons) and elicit spatial contrasts not obviously lexicalisable in English.